I've written arrangements for choirs and strings in the past, but I usually write music with my voice or a keyboard and then I'll get someone who is good at writing scores to write it out. Or, if I have the luxury of time, I will go in a room and hear the people perform and then change it through what I hear, not on paper. I can read music OK, but I probably rebelled a little - music changes into something else when you read it.

If travel is searching and home what's been found, I'm not stopping. I'm going hunting.

I have always had a certain song in my head, a certain chemistry of sounds.

For a person as obsessed with music as I am, I always hear a song in the back of my head, all the time, and that usually is my own tune. I've done that all my life.

It's a sign that you have a good work relationship if you don't have to analyze. That's usually a good sign within creative work.

[As a kid] I felt it was really weird that music schools behaved like a conveyor belt to make performers for those symphony orchestras. If you were really good and practiced your violin for a few hours a day for ten years you might be invited to this VIP elite club. For me music was not about that. It is about freedom and expression and individuality and impulsiveness and spontaneity. It wasn't so Apollonian; it was more Dionysian.

I thought I could organise freedom/How Scandinavian of me.